Segovia draws some epic fight action, and does an excellent job capturing Wonder Woman's frustration at being sidelined. At times Superman's head seems too small for his body, but for the most part this is a fine looking comic.

The issue overall speaks to the recurring theme, both in Action Comics and the Superman series, of where the "Smith" family fits into this new world. While much of the focus since Rebirth has been on Big Blue, giving Lois the spotlight provides some welcome depth to the series, including a rather strange visitor on this issue's final page.

"Men of Steel" shares a few similarities with Marvel's Civil War II event, including apocalyptic visions of the future and the "Kill baby Hitler?" morality question. Parallels aside, the execution here is far superior to Marvel's series.

If issue #11 of Aquaman is merely the prelude to "The Deluge," then clearly we're in for one wild ride. Dan Abnett gets the ball rolling on his next major story arc quickly, a remarkable accomplishment given that the first third of the issue takes place in Arthur's hospital room.

The script can only take this book so far, the art is what really sets The Backstagers apart with its lovable cartoonishness (pretend that's a word), though you can't help but feel that something sinister lurks somewhere in those crazy tunnels.

Barbara Gordon gets knocked out by a fighter nicknamed The Moth moments after describing her as such: "She flutters around erratically." Ironically, in many ways, that describes this issue of Batgirl, and while that could be seen as a criticism writer Hope Larson manages to make each and every frantic stop along the way entertaining.

While the pace of this book still moves along at a break-neck speed, it manages to mostly maintain a certain charm and character that keep its flaws from becoming too much of a hindrance. Things will need to slow down just a little bit eventually, but not quite yet.

The interplay between the three main characters, particularly Babs and Helena, is the obvious driving force of this book and the Bensons deliver an entertaining script filled with drama and quite a few laughs.

Lovers of great superhero banter will definitely want to jump on the Batgirl and the Birds of Prey bandwagon. The story almost takes a backseat to the fun of watching Batgirl, Black Canary, and Huntress play off one another.

There's a playfulness to this series that's been on display from the get-go, and while things can still get heavy, panels that read "Gotham Cemetery: The only place to R.I.P. in Gotham" help maintain a well-balanced tone.

The action is fast and furious, beautifully rendered by Riley Rossmo who, along with colorist FCO PLascencia, give this book a grainy, hand-held camera feel to it. The style is perfect for this type of event, and the battle against the transformed Gotham Girl and Nightwing looks tremendous.

This type of event can fall apart if the creative team relies on the premise alone to carry them through, but Greg Pak is far too talented for that. In many ways this is built of the same DNA as his classic Planet Hulk tale, only WAY more fun.

This is the most unconventional family in all of comics, and Lemire's script takes you from laughter to heartache and back again with ease. Seriously, how could anyone not love a comic that features a character named Punch Socklingham?

The script from Ta-Nehisi Coates is at its poetic best as the king of Wakanda explains his motives and determination for saving Shuri. Things do get a bit exposition-y, but not enough to be a real problem.

This first issue doesn't break any new ground, and certainly the more mature aspect of these characters has already been revealed and examined much further in its sister series. Still, this does help flesh out much of the necessary backstory that's been absent in the stellar Black Panther series.

Waid & Samnee deliver one of their craziest issues yet, as Natasha utilizes a lousy Bonnie Hunt impression in order to infiltrate 1600 Pennsylvania Ave. and stop one (or more) of the Dark Room's former students before they can harm the Vice President. It's a crazy premise, but the script delivers plenty of heart as this is quickly becoming one of Nat's most personal missions yet.

Let's just get this out of the way: Flag-Smasher is and forever shall be a dumb name for a supervillain. That said, his actions here get the ball rolling on #TakeBackTheShield, which looks to be one of the darkest stories in Sam Wilson's career.

Though things got off to a controversial start, now that the scope of Nick Spencer's Captain America story is coming into focus it's quickly turning into one of the most intriguing chapters in the character's long history.

There's a lot going on in Captain America #7. A. LOT. Plotting, scheming, monologuing...it's easy to lose track of who's siding with whom to betray who. But once you get the various sides straight, you can appreciate the complexity of Nick Spencer's (still?) controversial Cap story arc.

Leave it to Charles Soule to take a great premise (the legal and moral battle over a "blood painting" containing the DNA of over 112 missing persons) and make it even bigger in scope by drawing The Inhumans into the conflict.

Things do wrap up a bit too swiftly, an unfortunate by-product of waiting until last issue to finally bring the main villain into the mix. But Strange's motivation and diagnosis does present an interesting premise, plus it leads to another great Batman/Clayface team-up.

Tynion continues to deftly balance the team aspect of this book, though Orphan can always use more screen time. This series has done wonders for Clayface as his evolution continues, though it remains to be seen just how heroic Basil can be.

The issue is basically a series of heroes and villains showing up just in the nick of time, which does lead to a bit of repetitiveness. That said, the ending is a nice twist and leaves the future of the Wonders and their world up in the air.

Bruce Redondo's work on Injustice makes him a good fit for this alt-version of the Dark Knight, though he occasionally lays the shadow on a bit too thick. Diogenes Neves handles the aforementioned Huntress fight scenes, his slightly more cartoonish style working well to balance with Redondo's more thoughtful scenes.

"The Speed of Darkness" got off to a solid though uninspiring start. Fortunately, this second installment ratchets things up considerably. The direction this story takes is pleasantly unexpected, it's one of the more fantasy-based arcs we've seen from Flash recently.

Credit is due to artist Stephen Byrne, because whether or not you enjoy this brief interlude before we rejoin Ollie in issue #8, at least it features some great art. Emi's present day battle in The Arena is the more compelling storyline, and as such Byrne's art pops off these pages.

Rocha and Pansica do fine work here, particularly on an impressive two-page spread near the beginning of the issue. Baz's arms seem a little too veiny, but the Red Lanterns look sufficiently terrifying.

As with a few other Rebirth titles, the initial arc of Green Lanterns has come very close to wearing out its welcome. Fortunately things finally wrap up in this issue, and while the lead characters continue to be quite charming the book suffers from excessive inner monologue panels.

Max Landis may have a very short comic book resume, but his talent is undeniable. His latest series gets off to a tremendous start, immersing you in a world of knights, barbarians, and some of the most entertaining banter you're bound to read.

Robert Venditti remaining on a Green Lantern book remains one of the better decisions made by the powers-that-be at DC with regards to Rebirth. With Hal back in uniform and the Lost Army back... somewhere... Venditti crafts a story with several compelling threads.

For the first time, this series truly lives up to the "and the Green Lantern Corps" part of its name. Previous issues have focused mainly on Hal with John, Guy, and the rest of the corps making brief appearances here and there. But now, on the brink of all-out assault against Sinestro, this finally feels like the team book it should be.

The reveal of Tony's biological mother's true identity was an important moment, to be sure. Unfortunately, it also means that an already-slow-moving story has to slow down even more to go back and show how Amanda Armstrong met Tony's father.

With the final issue of International Iron Man, the story of how Tony wound up with Howard and Maria Stark wraps things up in a neat little bow. Ultimately, the success or importance of this series will be told by how the revelations of his true lineage affect Tony going forward. For now, it's just kind of there.

This Civil War II tie-in feels a bit dated as its main purpose is to say good-bye to Rhodey. While this is handled with poignancy in Bendis's script, it does feel a bit redundant given the rest of the Marvel universe has already moved on from the events of Civil War II #1.

This issue improves upon last month's debut, with Jessica and Luke Cage's cheerful and heartwarming (no wait, what's the literal exact opposite of that?) reunion setting the stage for a series that seems to pick up right where we left off 12 years ago.

Justice League continues to show signs of life, delivering its strongest issue to date. Granted, that isn't saying much considering what's come before, but those hoping for more substance should come away feeling a bit encouraged.

Phillips offers his usual quality work, highlighted by Dylan's mind-bending journey through Times Square. Coney Island has never looked more desolate than it does here, the wintry cold settling in just as things begin to heat up.

Kingsway West inhabits a world where The Good, The Bad, and The Ugly meets The Dark Tower, plus a whole bunch of dragons and giant rabbits. Like those two classic tales, Greg Pak is clearly crafting a story of epic breadth as Kingsway searches for his wife with seemingly the entire world standing in his way.

Gangsters, hillbillies, and werewolves make for quite the winning combination. The second issue of Brian Azzarello and Eduardo Risso's latest features rich characters, a classic backwoods setting, and plenty of supernatural horror. It's pretty unorthodox, but it works thanks to Azzarello's great script ("We wanna git in bed with Mista Pirlo!") and Risso's stellar work.

It's strange when a tie-in to a major event comic examines the main theme of that event better than the main series itself. Yet that's exactly what Ms. Marvel's latest Civil War II tie-in issue accomplishes.

At Comic-Con, Gene Yang gleefully described his New Super-man, Kong Kenan, as "a bit of a jerk." One page in on this issue and you'll agree with that assessment. The good news is that Kong isn't completely unlikable, but he's definitely the kind of guy you want to see get punched in the face or zapped repeatedly.

It's a real shame that this is the final issue of Nova. Though only 11 issues long, this has been an enjoyable series, and this finale shows us that the team of Ryan and Smith are capable of incredible things.

Old Wolverine has some unusual new allies, and their introduction provides an ample amount of laughs (though Logan's chat with an unusually friendly Sentinel in the issue's first few pages is pretty great, too). Things get serious once the team launches their attack on Dracula's army of vampires, but Warwolf, Manphibian, Hit-Monkey, and the rest are a refreshingly fun addition to the pages of Old Man Logan.

If it wasn't apparent by now that Becky Cloonan and Steve Dillon were born to create a Punisher comic, issue #5 makes it abundantly clear that we are witnessing one of the strongest takes on the character to come around in a long time.

The Earth is round, the sky is blue, and Remender & Opena create amazing comic books together. Some things are just always true, and if Seven to Eternity is still not on your pull list, you're doing comic books wrong.

If the sight of the Hellbat suit on the cover of this issue filled you with glee, then rest assured that excitement is rewarded many times over. Tomasi & Gleason's Superman has been delightfully bananas thus far, but issue #5 takes things to a whole other level.

Peter J. Tomasi and Patrick Gleason may have delivered an incredible first arc to their Superman run with the battle against The Eradicator, but it's this single issue, featuring a simple visit to the county fair, that lets you know the duo were the perfect choice to usher in the character's Rebirth.

If the purpose of this issue is to drum up enthusiasm for next year's Super Sons series, then mission accomplished. The relationship between Damien and John is rife with possibilities, and their reluctant team-up for Parental Boot Camp together is quite entertaining.

The comic book world has seen its fair share of decades-old properties resurrected and given new life. Perhaps "new life" is an odd thing to say about something involving vampires, but the new Lost Boys series from Vertigo certainly feels like a proper rebirth for the 1987 cult classic.

After a very promising debut, Tim Seeley's comic book sequel to 1987's Lost Boys accomplishes the important task of broadening the scope of the film's story while remaining true to its roots. Though the characters only share a basic physical resemblance to their real world counterparts, this still feels like the same Santa Carla we saw depicted in Joel Schumacher's cult classic.

There are plenty of laughs to be had, though as usual Screwbeard steals the show ("Still not sure why Thor is pretty girl now"). But with a showdown with Malekith and his forces on the horizon, the level of drama remains high.

IDW's Revolution crossover event is on the horizon, bringing together the worlds of Transformers, G.I. Joe, Micronauts, M.A.S.K., Action Man, and ROM. This, naturally, is wonderful news for fans of any/all of these properties. The only drawback is that Transformers #56 is basically just one big set-up issue.

For a book that purports to star Superman, Wonder Woman, and Batman, Trinity #2 reads very much like a Superman book that just so happens to co-star the other two. That's not to say it's bad, if anything it's further evidence that Rebirth is the best thing to happen to Superman in decades.

The inevitable Civil War II tie-in arrives for the Uncanny Avengers, and fortunately, it's a pretty good one. Deadpool grabs the spotlight for most of this book, as he is wont to do, as he embarks on a secret mission to bust Hawkeye out of prison.

Uncanny Avengers #14 is a bit of a mixed bag. It isn't much of a tie-in to Civil War II, which is probably a good thing considering how that now-delayed event series tends to slow things down. Unfortunately, the big Cable/Captain America showdown the cover promises us is incredibly underwhelming.

The latest offering from BOOM! Studios is billed as "Southern Bastards meets Dune." The new series definitely fits that description, though so far it leans far closer towards Jason Aaron's comic than it does Frank Herbert's epic saga.

If there's one criticism to be had, it's that Cadulo and Urzkartaga are done away with too easily. But between the great character work, the unexpected moments of humor (like Cheetah's reaction to Chris doubting her trustworthiness), and Liam Sharp's gorgeous presentation, it's not hard to consider Wonder Woman once more as one of the best books DC has to offer.

"Year One" returns after a three issue break, and while both this and "The Lies" may ultimately be better served by the TPB format, any annoyance at the pace with which both stories are being told are minimal since they're so freaking good.

This may be the conclusion to the "The Lies" storyline, but it's clear the mystery is far from being resolved. There's no great revelation here, and we're left with even more questions than answers, but when Greg Rucka's in charge that's always a good thing.